Also, Violin Suite, Pastorela, American Suite. Zina Schiff, violin; Avlana Eisenberg, Royal Scottish National Orchestra. Naxos 8.559867.
By John J. Puccio
William Grant Still (1895-1978) was a prolific American composer who came from a mixed background--African American, Native American, Anglo, and Hispanic--but who never rejected his birth certificate identification as “Negro.” In fact, because of his close association with many prominent African-American cultural figures, he is considered a part of the Harlem Renaissance and is often referred to as “the Dean of Afro-American Composers." Although he is probably best known for his Symphony No. 1, also called the Afro-American Symphony (1930), he wrote hundreds of other things as well, including nine operas and five symphonies. It’s good to hear a few of his works again on this newest album of his music, Summerland, with conductor Avlana Eisenberg and the Royal Scottish National Orchestra.
In all, there are nine items from Still on the program:
1. “Can’t You Line ‘Em” (1940)
2. 3 Visions - No 2 “Summerland” (1936)
3. “Quit Dat Foll’nish” (1935)
4. Pastorela (1946)
5. American Suite (c.1918)
6. “Fanfare for the 99th Fighter Squadron” (1945)
7. Serenade (1957)
8. Violin Suite (1943)
9. Threnody: In Memory of Jean Sibilius (1965)
You can see by the titles that Still was not only a productive and long-lived composer, he also wrote a diverse number of pieces, from pop and jazz numbers to Hollywood film scores to classical orchestral music. And even though he studied with avant-garde composer Edgard Varese, Still’s work is not what we would classify as dissonant or aloof and most of it is charmingly approachable. The present disc offers only a small sampling of his output, yet it provides a conveniently condensed overview of the man’s work.
The opening number, “Can’t You Line ‘Em,” is based on a folk song about railroad workers laying tracks, and it provides a good, vigorous introduction to the collection. The second item, “Summerland,” is a serene vision of Heaven. It’s a perfect slow movement for the program, calm, tranquil, a respite after the momentum of the first track. The third song, “Quit Dat Fool’nish,” returns us to a snappy, jazzy scene. Now, you might be wondering, why a Scottish orchestra for so quintessentially American music? Well, the fact is, a good orchestra should be able to play any type of music meant for such an ensemble. And the Scottish National Orchestra is a good orchestra. As for the conductor, Avlana Eisenberg’s mother, the violinist on the disc, Zina Schiff, met the composer years ago and fell in love with his music, which in turn led to this album. Ms. Eisenberg, currently the Music Director of the Boston Chamber Symphony, has a good feel for Still’s music, and I can’t imagine it sounding any smarter, any more polished, any more entertaining than under her direction.
The Pastorela is just that: pastoral, bucolic, idyllic, peaceful, and describes in music a California landscape. As a native Californian I can appreciate that, so I looked out my living room at a nearby hillside while I listened. Yeah, it works. The American Suite in three movements is an early piece, composed while Still was in college. It appears a tad simpler than the rest of the works on the album and maybe a little more obvious in its derivations, but one can sense the potential in it.
And so it goes. The film music is loud and blustery, just right for the war movies it accompanied. The Serenade is appropriately lovely. The Violin Suite is the longest item on the agenda, and Ms. Schiff’s violin is vibrant and songful throughout. The album ends with a tribute to Finland’s Jean Sibelius, written by Still on the 100th anniversary of Sibelius’s birth. It may be the best possible summation of Still’s work as well, with both the conductor and the orchestra presenting it in charming, fashionable style.
Producer Michael Ponder and engineer Phil Hardman recorded the music at the RSNO Centre, Glasgow, UK in August 2018. Either my equipment or my ears are getting better with age or Naxos is improving their recording quality. This one sounds excellent. Many past Naxos recordings have been soft, even sometimes downright dull, but this Still production is first-rate all the way around, with plenty of detail, a realistic ambience, and good if not overpowering dynamics.
JJP
By John J. Puccio
In all, there are nine items from Still on the program:
1. “Can’t You Line ‘Em” (1940)
2. 3 Visions - No 2 “Summerland” (1936)
3. “Quit Dat Foll’nish” (1935)
4. Pastorela (1946)
5. American Suite (c.1918)
6. “Fanfare for the 99th Fighter Squadron” (1945)
7. Serenade (1957)
8. Violin Suite (1943)
9. Threnody: In Memory of Jean Sibilius (1965)
You can see by the titles that Still was not only a productive and long-lived composer, he also wrote a diverse number of pieces, from pop and jazz numbers to Hollywood film scores to classical orchestral music. And even though he studied with avant-garde composer Edgard Varese, Still’s work is not what we would classify as dissonant or aloof and most of it is charmingly approachable. The present disc offers only a small sampling of his output, yet it provides a conveniently condensed overview of the man’s work.
The Pastorela is just that: pastoral, bucolic, idyllic, peaceful, and describes in music a California landscape. As a native Californian I can appreciate that, so I looked out my living room at a nearby hillside while I listened. Yeah, it works. The American Suite in three movements is an early piece, composed while Still was in college. It appears a tad simpler than the rest of the works on the album and maybe a little more obvious in its derivations, but one can sense the potential in it.
And so it goes. The film music is loud and blustery, just right for the war movies it accompanied. The Serenade is appropriately lovely. The Violin Suite is the longest item on the agenda, and Ms. Schiff’s violin is vibrant and songful throughout. The album ends with a tribute to Finland’s Jean Sibelius, written by Still on the 100th anniversary of Sibelius’s birth. It may be the best possible summation of Still’s work as well, with both the conductor and the orchestra presenting it in charming, fashionable style.
Producer Michael Ponder and engineer Phil Hardman recorded the music at the RSNO Centre, Glasgow, UK in August 2018. Either my equipment or my ears are getting better with age or Naxos is improving their recording quality. This one sounds excellent. Many past Naxos recordings have been soft, even sometimes downright dull, but this Still production is first-rate all the way around, with plenty of detail, a realistic ambience, and good if not overpowering dynamics.
JJP
No comments:
Post a Comment
Thank you for your comment. It will be published after review.